From urban drama and European cinema to slapstick comedy and sci-fi, I’ve worked a number of different roles, including sound effects editor, Foley mixer and sound designer.
From top: Nothing Man (2017, dir. Stephen Gallacher), Le Ciel Flamand (2016, dir. Peter Monsaert), Renesse (2016, dir. Willem Gerritsen), F.C. De Kampioenen 2 (2015, dir. Jan Verheyen), The President (2014, dir. Mohsen Makhmalbaf), Narcopolis (2014, dir. Justin Trefgarne), Green Street 3 (2013, dir. James Nunn).
From top: Keeping Faith (2017, broadcaster: S4C / BBC Wales), De 16 (2016, Canvas), Eigen Kweek (2015, Éen), De Zoon Van Artan (2015, Ketnet), Amigos (2015, VTM).
From top: The Bicycle Thief (2018, dir. Stewart Alexander and Kerry Stewart), Sempiternal (2017, dir. Frazer Ash), Mm-Hm (2015, dir. Michele Austin), Fish Seeks Bicycle (2014, dir. Robin Crowther-Smith), UK Residents Only (2013, dir. Tarun Thind).
I mostly work on drama, but it always makes a nice change of pace and style to delve into factual storytelling. Even as the lines between drama and documentary become blurred, as a sound designer, I ask myself what might the viewer want to experience and learn from the story.
From top: Bobbejaan (2015, 84 mins, Foley recordist), Gardening Is Good (2015, 30 mins, sound designer).
Commercials, promos and teasers present different challenges to longer work. Having to get a point across in such a short space of time can lead to a cluttered and confusing sound story. One method I’ve found to be excellent for crafting that discipline is to re-design existing ads, idents and promos.
From top: Vandemoortele (2015 - 10 x ten second, 10 x 20 second commercials), Thomson Reuters (2013 - two min corporate film).
On this page are non film and television projects that I’ve devised and developed, both alone and in collaboration.
From top: Sound and Music Lookbook 2012 - 2017 (2017), A Conceptual Framework for Designing Soundscapes In Museums (2016), Bombay Spleen (2014), Antigona (2011).